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Notes on high fashion’s bid for Asia

Dolce and Gabbana's racially insensitive ad promoting its Shanghai fashion show and Stefano's shamefully vocal and open xenophobic tirade that followed harkened to the sinister European elitism and classism that governed fashion of Old. Heralded by modernity and the total globalization of the fashion industry (from production to consumption), cultural and racial inclusivity and tact are of utmost importance. D&G's undeniably bigoted comments has alienated one of the most important sectors of high fashion buyer, one whose dollar acts as the financial crux of so many fashion houses.The incident has been said to belie broader industry practices of shallow public and cultural relations for the distinct and sole purpose of extracting profit. Rather than bridging of two distinct but equally worthy cultures, fashion entities seem content to exploit and patronize its Asian consumer. D&G's transparent pursuit of profit and ignorance of China's own deep heritage, culture and tradition seem to be endemic of the industry's longstanding Orientalism. Despite robust textile and manufacturing segments, China in particular has mostly been left out of the high fashion conversation.  Chinese products and consumers alike are lumped into second-tier categories, inhabiting a lesser global status. The obvious emergence of China's buying power and its appetite for luxury however, has forced deeper interaction and cultural recognition, at times disingenuously. Often regarded as the global nouveau-riche, the Chinese sector are often treated as though unable to adequately grasp the subtleties of heritage, quality and craftsmanship of storied European fashion houses. The commonplace Western perception of Asia as having unrefined and clumsy tastes, limited exposure and a lack of nuance inform the global dynamics. D&G seemed to exacerbate exactly this bigoted perspective with the ad. The response to the incident were impassioned and aggressive verging on riotous exhibits of D&G denouncement. At the behest of a Chinese government agency and the public at large, the Shanghai collection and show were cancelled and a public apology made, but the scorn was already felt. The backlash saw celebrities, models and influencers condemn Dolce and Gabbana personally, retailers worldwide pulling product from sales floors to the widespread destruction of past collections. The ordeal may cost D&G up to half a billion dollars, a third of its annual profits, but many see it as only a temporary setback as the consumer memory seems to be fickle, especially in the realm of high fashion. The men themselves, Steffano and Domenic, will likely have to take a much less visible role, if one at all as the company tries to desperately to distance itself from the fiasco. But if the John Gallianos, Abercrombie & Fitchs and Ralph Laurens are able to rise from the ashes of bigotry, why shouldn't D&G? The fashion industry and its consumer are, in many ways  complicit with the inherent racial undertones it presupposes, however strides towards inclusivity and representation as social media and the Internet continue bulldoze cultural divides. High fashion will have to shed its oldest and deepest held convictions in authentic and meaningful ways as social and cultural responsibility take priority.

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The Modernist, Kirby Jean Raymond

Pyer Moss' Kirby Jean-Raymond is a revisionist. Supplanting Manhattan for the little known Brooklyn district of Weeksville for his Spring fashion show bore particular historical significance as the grounds of one of the first American free black communities. The show acted as a celebration of black achievement despite the demonstrable oppressive forces abound, praising African-American culture and legacies that may otherwise be buried in deep recesses of history. Fashion's wholesale export and appropriation of black culture ignores its deep roots and incubating environments. Taking the credit where it is due as fashions houses make huge profits on urban influence, Pyer Moss is playing piper. Messages like “SEE US NOW” scripted on cumber-bands, and oxford button downs or potent NYC-based Derick Addams' creations on elegant plisse skirts and strong feminine silhouettes add elegance to the political undertones. Jean-Raymond offers a vision of what a modern citizen of Weeksville might be: empowered, confident, political and unbelievably stylish.

The artwork, emblazoned throughout the collection is by fellow Brooklynite artist Derrick Adams, a crucial African-American contributor to Pyer Moss' potent imagery. Harkening to an imagined African-American pastoral experience, kept at bay instead by systems of racism and oppression. Beautiful paintings of African-Americans in common past times proved jarring as they recalled headlines of deadly racial tensions in the US. Pyer Moss SS19 wants to showcase African Americans in everyday, menial but meaningful scenes unencumbered by racism and prejudice. The clothing and imagery is aspirational in that sense, belief in a more understanding and compassionate world that may be on the cusp. Raymond is careful to inject a bold sense  optimism tangible in the collection. Harkening to the bright side of a bleak history, and an optimistic glimpse into the future.

Also premiered were the latest addition to his collaboration with Reebok, and capsule with black-owned super-brand of the past, FUBU. Consistently, Jean-Raymond pays homage to African-American trailblazers in fashion and beyond, having already celebrated Cross Colors, the Black Cowboy and Black Lives Matter in past collections. Jean-Raymond elevates his own deep influences and those entities that enabled the strength of streetwear today and its impact on fashion and culture. He showcases the oft omitted black narrative and disregarded legacies of minorities as worthy perspectives for praise, adoration and representation. Jean-Raymond casted only black models to walk the runaway, among them were leaders and activists in music and film who align with the project of contributing to the culture rather than syphoning it for consumption. In the same way Spike Lee uses film to explore the African-American identity. Or Kendrick Lamar through his politically charged lyricism. Or Maya Angelou's resonant poetry. Black activism and  political action can take place on the largest fashion stages, all while building new, potent and immersive fashion worlds. Jean-Raymond masters the tactility of the medium to convey these powerful messages. What more could you ask of a fashion brand than a positive and authentic message to rally behind.

Kirby Jean Raymond is a squarely modern designer. He is transparent, authentic, thoughtful, bold and seeks to connect his fashion to deeper social phenomena. With his recent awarding of the CFDA prize, and both mainstream appeal and industry cache, Pyer Moss seems primed to dominate.  Jean-Raymond's strong identity is visible in the collection, his deep exploration of the black experience is tangible, and the emergence of a compelling fashion mind is cemented.

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Old World’s New Guard

The total digitization of the fashion experience has exposed luxury and high fashion to new, younger audiences, and are they ever buying! Millennials and Generation-Z, that is ages 18-34, have made up for up to half of last year's growth for mega-brands like Gucci and Saint Laurent. Clearly, appealing to this market has proven lucrative, and many are scrambling to capture a relevant zeitgeist in the blitzkrieg speed of today's fashion. More and more, success, influence and full price sell through are predicated on strong digital presence and an ability to captivate this sector and cultivate appeal. Fashion's long time obsession with youth has shifted from the conceptual praise and allure to a very literal catering to their tastes and sensibilities. Consequently, luxury has made strides into becoming more inclusionary, transparent and communal but also potentially more vapid and vulnerable.

Designers like Virgil Abloh, Heron Preston, Demna Gvaslia  and more are known to keep a revolving cast of young social influencers and style arbiters at their helm for inspiration and tangible insight into ground-level trends. Social superstars like Ian Connor, Luka Sabbat or Bloody Osiris are used as muses and underpin the growth of these modern designers. Many of these personalities have become de facto consultants to major fashion houses and their highest contributors. At Dior, one of the oldest and most traditional houses in spirit, director Kim Jones, jewellery designer Yoon Ahn, and key collaborators Matthew Williams and KAWS are all under forty-five. Beyond the industry-wide appointment of young creatives to the helm of major fashion houses, collections across the board all seem to be attempts to capture the minds  (and wallets) of the under thirty-five sector. No need to tell anyone how loungewear, t shirts, bold graphics and sneakers have dominated the fashion conversation for the better part of the decade. Its a given even at the highest strata of the fashion world. The new class of designers seek not only to usher in a new era of luxury and high fashion, but also contribute to the evolution of their contemporary definitions.

Traditionalists and puritans claim the bourgeoisie, exclusionary nature of the fashion world of old remains its main tenant of allure and attraction, but also necessary to its basic core. Its opaqueness creates a stronger singularity of vision that elevates the practice to an art form. Original and distinct fashion perspective, with an eye for quality and craftsmanship have contributed to the longevity of these storied houses thus far. Often, modern collections seem to be reactionary. The amalgamation of various voices, opinions, and trends rather than a singular artistic vision. The mass appeal of luxury in the past has been due to the calculated distribution channels and aspirational nature of the products. Mass production, focus on accessories and fragrances has, for many critics, threatened the artistry and discipline of fashion. Designers' roles have been bastardized to totems of social cache, relegated to powerful marketing tools and digital aptitude. Heritage, quality, construction, material, or unique concept are no longer the hallmarks of high fashion houses. It's simply about who can dominate the digital conversation, particularly on social media, that reaps the highest rewards. No doubt Jones and Abloh will boost revenues across the board at their current respective helms, but do the collections have the staying power and timelessness that these houses stand for? Fashion has always been a balancing act between art and commerce, however with the paradigm shifts, creatively and corporately, we see today, it may be ever tipping to the side of commerce. Beyond compromising the art and design in modern fashion, the rampant commercialization may lend to its downfall in deeper ways. ��As mass production and rapid expansion reach a fever pitch, the desire and allure begin to wane and drives demand for product down. Careful supply and distribution chains are integral to the covetability and price point for these products. Ease of access and price barriers work to the industry's advantage but  more and more these houses are looking to commoditized for the short-term gain.  Over-saturation is a very finicky thing, especially in the paradigm of today's retail landscape. As the masses have more access than ever through e-commerce channels, retail stores or second-hand merchants, sales and influence may be reaching a breaking point, and the bubble may soon pop.

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Digitization & Designfluencers

Digital marketplaces and social media continue to act as catalyst for the overhaul of the fashion industry and traditional retail. More and more, established brands and retailers are tapping into these outlets to attract new generations of customers, particularly the elusive millennial sector purchasing in record amounts. Rather than traditional marketing  media, such as TV, radio or print,  influencers are driving shoppers in droves.The mounting use of social media influencers is widely recognized in the industry, however influencers are beginning to leverage their following and engagement beyond acting as brand ambassadors or modelling. They are thriving, not only as trend setters, style arbiters and potent marketing tools but also as a new breed of designer.

Promotion, feedback and interest are instant metrics packaged so conveniently on social media, and these designfluencers are able to convert those analytics into highly desirable products and sales. That's a rather bleak and transactional way of looking at it all. In reality, their success lies in their authenticity and ability to connect and strongly engage their audience. Their strongest suit is the transparency they promote in the often opaque and omniscient fashion world.  They encourage a sense of interaction and  engagement for their followers posting anything from inspiration, to process, to manufacturing results in meaningful interaction (and integral feedback!). These “conversations”  deeply engage their followers and builds rabid anticipation for product release, leading to lightning fast-sell throughs and long wait-lists. These brands are able to better understand their market, its needs and demands. It allows for better production, manufacturing and marketing strategies crucial to their lean vertical structure. With some employing direct-to-consumer strategies, profit margins are far more attractive cutting out wholesale.

Most designfluencers however, welcome partnerships with bigger, more establish brands and retailers to push their product. What retail backing and partnerships do offer, beyond financial relief and broad reach, is a larger sense of brand credibility and validation. Even the largest luxury retailers such as Neiman Marcus and Nordstrom are collaborating with influencers to leverage massive social media traffic into sales, and engage new sectors of buyers. Recently, Nordstrom partnered with Arielle Charnas of Something Navy, a multi-platform fashion blog, for a capsule collection that achieved a million in sales in 24 hours. Following its success, a permanent fashion line with multiple categories, also dubbed Something Navy, is set for roll out with Nordstrom. The relationship is mutually beneficial as revivals in foot traffic in physical retail is due to the influx of collaborations, pop-ups, or capsules with online influencers or online-native brands (see. Arielle Charnas, Everlane), attracting millennials to brick-and-mortars. The digital savoir-faire and marketability of social media personalities has undoubtedly changed what it means to be a designer and creating a brand. Fashion brands need less overhead , have fewer barriers to entry as ever before, and the title of designer has as broad a definition as ever. Critics may disparage these brands as simple, or thoughtless, claiming it takes away from the craft, discipline and rigorous training of actual designers. But what makes a great design beyond more than its desirability, its wearability and versatility? What deeper connection can one  inspire beyond the personal feeling of kinship  these social influencers develop, the feeling that one had a hand in the design and making of a product? This is as strong as any and if you don't believe me, check the receipts.

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(NikeCraft)3.0

Tom Sachs' Nike collaboration might be the most visible of his achievements to Gen-Y and beyond, but it is only one work in a much larger portfolio of the NYC veteran. Beyond his obvious preoccupation with NASA and Apollo space missions, Sachs has long been exploring the relationship between consumerism, culture and society through sculpture, painting and film. He is at once a bastion for the modern digital artist while his art represents the analog, the hand-made, the imperfect, his version of bricolage. Sachs is obsessed with the minutiae, the meticulousness and process of doing things the correct way, or more accurately his way.   In classic Tom Sachs tradition, the newest addition to his collaboration program with Nike (NikeCraft) is accompanied by his latest artistic output.  In this case, the conceptual Swiss passport installation at Frieze London was the stage for his first production-line unboxing of the Mars Yard Overshoe. Much less steeped in the NASA theme of his previous sneakers, the shoe only LOOKS LIKE a space boot.The Overshoe, rather, acts as an upgrade to the  2.0, given the volatile weather conditions, not of Mars, but New York City. 1.0 and 2.0 were a bricolage of sorts, a pastiche of available materials hobbled together to create something greater than the sum of its parts. When it comes to Sachs though, those “available things” can  include some entirely unique and intriguing materials: cork for insoles, NASA airbag materials for the tongue, Vectran for the upper, and  archive Nike soles.

His wildly popular first two iterations in the series fetch incredibly hefty aftermarket prices (upwards of $2,000US) and are held in the highest regard for sneaker enthusiasts. Sachs' measure of success, however, is with the practicality and demonstrated usability of his art: from his functional homemade handguns, famed McDonald's vendor cart, or his previous sneakers with Nike, they need to work and last. Between the first version and the second version of the Mars Yard, Sachs amended his design for more durability and strength, having been disappointed with the first iteration's “field testing”, that is, they were falling apart when worn. Polyester for durability replaced the more technical Vectran on the toe box, the pull tab was lengthened and the sole inverted for better city use. The Overshoe is yet another upgrade, featuring a 2.0 stitched inside a rugged SFB sole, with waterproof and windproof Dyneema material covering the entire upper of the shoe.  The Dyneema bag is secured through Fidlock magnetic cinch straps on the foot, and a cinch tension cord at the top, creating a seal from the harsh and varied NY weather.  The intricate lace up procedure lends to Sachs' patent meticulousness. The much adored simplicity and wearability of the 2.0 was disregarded in favour of utility and longevity. Once again, sticking to his design ethics and continually renewing purpose to objects.  Sachs' collaborations are doubly interesting as they appeal to two fervent collecting communities, sneaker collectors and art collectors, and his sneaker releases are treated as extensions of his art portfolio. Despite the higher price point and strange silhouette, the release is sure to sell out instantly as its numbers are so limited. So far, it is only available in store at London DSM. His NikeCraft project continues to interest and intrigue all us earth-bound consumers despite its place among the stars.

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Slimane at Celine: Two Legacies at Play

Since Hedi Slimane's surprise appointment to the head of French womenswear house Celine, there has been ample rumour and debate surrounding the move. A totem of female strength in the often patriarchal fashion world, Celine is changing in a fundamental way with the addition of menswear. Just days ahead of his debut collection at Paris Fashion Week, here's a look at what we know so far about Slimane's re-imagination of Celine...

Street Smarts: Taking cues from streetwear vets Along with the seismic announcement of Celine's introduction of menswear, Hedi announced they will introduce drop style releases throughout the season, rather than delivering on the anachronistic fashion schedule. Slimane may have been out of the spotlight and tangled in legal battles since his abrupt exit from Saint Laurent in 2016, but it is clear that he is privvy to the rapidly evolving fashion structure, and the growing influence of streetwear on fashion, creatively and commercially. Celine will be one of the first high fashion houses to implement the surprise releases. Relying heavily on iconography and influence, ie. social media, these releases will be available online, worldwide and instantaneously. A revolutionary buy now-wear now for high fashion.

Ticked Off: Dropping the accent from Celine Slimane dropped the accent from Celine sometime in June. In what seems to be his M.O. when entering a house, the rebranding of the logo, often by omission, causes intense reaction from the public, from those understanding the modernization of the brand to those walking around the streets of Paris with Sharpies marking accent agues on Celine ads. Slimane claims the change is a tribute to Celine's heritage and orthodoxy, though he admits it is partly to “shake things up ... making waves. When there is no debate, it means there is no opinion — the definition of blind conformity.” Some critics claim that the move strips the brand of its roots in French fashion and its distinctly Parisian aesthetic. While Slimane hasn't moved Celine's headquarters like he did at Saint Laurent, many loyalist argue it has the same effect. It can be argued that Slimane wants to create conversation, energy and interest around the house and his upcoming collection; simple marketing.

Tall, Black and Handsome: Still black, still skinny Many fashion followers worry about Slimane's propensity for the color black and how it will manifest in his collections at Celine. Having been known for its bold use of color and print as well as the varying silhouettes Philo proposed for the everyday woman, how much can change while still remaining Celine? In a recent interview with La Figaro, he defended his trademark skinny silhouette and use of black stating he “stands firm for [his]  principles. Why should I give up on what defines me?”. He leans into the cliche (that once overhauled all of menswear) rather than make concerted effort to deviate that may seem inauthentic and contrived.

Slimane is sticking to his guns and seems to be content to continue in the vein that has allowed him to revive flailing fashion houses in the past. He seems to work best under duress, the impossible pressure of history, heritage, critics, fanatics, and legacy. Beyond the media frenzied changes, Slimane's actual output always impressively toes the line between honouring the house with the through line of his own discernible fashion vision.

A Note on Style So much of Slimane's design work  is tangled up in his love of photography, rock n roll, and mythical cities and its inhabitants, ie. New York, Berlin and again, Paris. Slimane's perspective on personal style and  his design ethos is unique from his contemporaries in significant ways. Rather than being at whim of trend, gimmick and quick profit, Slimane is hard lined in his principles, process and perspective. On style he notes, 

“I found my style more than 20 years ago, unless it's the other way around. It passes through a line, a stroke, an appearance, a silhouette that I have been obsessively pursuing since then and that defines who I am. It belongs to me, and in return, I am compelled to it.” In the final moments of the interview, Slimane appears to gloat and tally his achievements in fashion and design (pinching the waist, pinning the shoulders, etc). Rather though it is a firm understanding of his fashion narrative and how he intends to  develop it within the context of Celine.

Once again, in 2018, Slimane joins a house and begins by shaking its very foundations. The new era of Celine will undoubtably be marked by the tenure of Hedi Slimane, for better or worse

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NOAH NYC Represents the Best of Streetwear

Since inception, New York retailer and clothier Noah NYC  has consistently set itself apart from its contemporaries, even beyond the streetwear realm.  As even the  most storied fashion houses continue to indulge in casual wares, less tailoring, further turning to cottons and polyesters and  exporting its manufacturing segments overseas, Noah sticks to its guns. Its latest look book offers a range of products beyond typical streetwear offerings. It includes two impeccably tailored double breasted suits in heavyweight wool and corduroy, respectively. Often indulging in oddities such as baby camel hair hoodies, the utmost regard is placed on fabric quality, craftsmanship and ethical manufacture. Brendon Babenzian, the founder and creative force behind Noah NYC has long found himself incongruent with fashion narratives and trends.

Only three years and five collections in, Noah NYC has cemented its place as a strong player and influencer. With industry focus on multi-brand collaborations, Noah's don't come off as gimmicky, forced or obtuse. Nor are they engaged in the self masturbatory practices that most of the industry is. That is, endless collaborations between two similar brands clearly with the only goal in mind being to amass the sum of their followers.

Recently, Noah NYC has had capsules with New York musical legend and straight edge ambassador John Porcell as well as one with cause-conscious Tony's Chocolonely. The capsule featuring Porcell and  showcasing the Straight Edge mantra is a worthy homage to little known aspects of the subcultures that have acted as incubator for modern streetwear. The other, Tony's Chocolonely, is a Dutch confectionary that campaigns against child slavery rampant in the cacao industry in sub-Saharan Africa. Noah have partnered with them to redesign packaging but more importantly to spotlight and promote their cause.

The partnership may seem slightly bizarre, but it is yet another instance  of Babenzian raising the bar for ethical standards as well as spotlighting brands and figures they align with. He urges the importance of purchasing products  that engage in fair and honest practices. Babenzian has  proven that's his focus rather than turning major profits.

Babenzian is resolutely transparent. Tapping into another level of honesty when he published a blog post about the cost of Noah's two-tone parka, detailing the various costs, places of manufacturing, quality of materials used, and their relatively small profit margin. In his candour, he is able to dispatch an important message about international wage disparities, responsible production and consumption. His statements never come off as patronizing or preachy, but rather appeal to a refreshing universal humanism.

Only recently have high luxury fashion houses begun to consider their ecological footprint, most notably Gucci and Burberry having recently gone completely fur-free. Babenzian, since his days designing for Supreme, is quite used to being ahead of the curve and a target for criticism until everyone catches up. Babenzian's passions, beliefs and hard lined optimism are the DNA of Noah NYC and also what has kept so obviously authentic and maintained its breadth of influence. What Noah NYC and its showrunners understand is that strong  perspective and message is in fact what engages consumers long term and connects them with a brand. Standing behind strong heritage,  showcasing a cacophony of influences and boldly engaging political activism has allowed Noah NYC et al to thrive.

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It Don’t Matta If Yo Black or Orange

The clear contender for colour combination of the season must be the ubiquitous black and orange,

Arguably birthed in the initial VLONE and Nike collaboration Air Force 1 that was released in early 2017, the pumpkin orange stitching and heel embroidery were a stark pop to the jet black leather. It felt fresh even for a silhouette with countless memorable iterations over its 30-plus year lifespan. Following that relatively small but fervently hyped release, the colour combo seeped its way to high visibility in Virgil Abloh's first Louis Vuitton menswear show, from accessories to apparel. The combination screams of Halloween and other gothic and alt undertones. It also has a playfulness and youthfulness that lends to its approachability.  These are themes and inspirations that both Bari (VLONE's creative director) and Abloh, friends in fashion and beyond, have continually tempted and flirted with in their collections. As we near the Fall deliveries, Prada has introduced its new-signature Cloudbust silhouette in the menacing black/orange colourway , kind of cementing its impending dominance. We can certainly expect most other major fashion houses to introduce the palette in some prominent way over the next seasons.

Streetwear’s influence over even the highest stratospheres of fashion proves its value and place as veritable source material rather than cursory commodities for indignant subcultures. As the ambassador of streetwear in the highest rungs of luxury, Abloh's Vuitton menswear will no doubt continue to implement streetwear ethoses and principles into the high fashion world (an approach he has always taken to his collections). Exploring themes, subcultures  and drawing inspiration from that which may have potentially never been explored at Vuitton’s level of craftsmanship, quality and resources will no doubt keep many interested.

The immediate result is the fresh new perspective of young unconventional fashion minds. However, how the streetwear/high fashion relationship will develop and co-exist in the long run is yet to be seen.

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Knock, Knock

Capturing international attention in footwear, ready to wear, and accessories, Balenciaga has the world waiting at bated breath for its next zeitgeist product. Since the appointment of Georgian-born Demna Gvasalia as creative director, the house has seen a a major revival in sales and influence in the global fashion conversation. Driving sales for Balenciaga is the booming millennial sector's absolute enthralment with luxury goods in the 21st century. While Balenciaga has propelled itself to all time high sales and desirability through products like the Triple-S sneaker, duvet-packaging handbags, and ill fitting suiting, its trajectory has left many baffled yet enamoured. Having forgone most pillars of luxury such as quality, refinement or subtlety, Balenciaga blurs all constructs of high end luxury but the price tag. Generating desirability, or “hype”,  however, is something that Balenciaga, among other Kering-umbrella fashion houses, has done impeccably well in driving its new direction.  The widely covered fashion shows, celebrity endorsements, the success of his actual output has kept the name Balenciaga on the tip of everyone's tongue without  it ever quite becoming passe nor ever taking itself totally seriously.

Gvasalia's success relies on his heavy use of irony in his collections, presentations and general design ethos. His work at both Balenciaga and his own line Vetements are both highly referential to an array of cultures and subcultures.The Triple-S sneaker, partly an entry into the dad-shoe category, partly an indictment against high-end sneaker design ethos dominating at that time, is perfectly timed and placed irony. The Triple-S is bulky, heavy, cumbersome and at its core anti-fashion. Its proportions are difficult to work with and its weight can make your own feet feel foreign, yet they sell out before hitting shelves. His $300 dad caps continue to be hot sellers but are they anything more than a campy memento from a fishing trip? His $500 T-shirts mimic those you would get gratis in a case of beer or if you ate enough hotdogs in one sitting. Irony is decidedly the driving force behind the Bernie Sanders inspired T-shirts and hoodies, or the Croc-platforms, but wherein does it lie? In the idea that ugly can be beautiful or an the fact that the masses will covet and pay big bucks for  otherwise uninspired commodities bearing a brand name? One thing is certain, for these wares, the demand far outweighs the supply.

Having spent many years working at Maison Margiela, designing  collections steeped in irony and obtuse reference is familiar to Gvasalia. What Balenciaga has effectively marketed is an ironic take on the fashion industry's most fiercely guarded conventions. His use of senior models in his shows, his disregard for quality (moving production of the Triple-S from Italy to China, while maintaining the price), and his overt brand-jacking seem to work as an indictment on both the fashion world and its consumers.  Having abandoned the couture-DNA of Balenciaga of old, many detractors claim that Gvasalia's success is fickle, shallow and as ephemeral as his latest T shirts. Designer Ralph Rucci was scathing  in an online post, saying  Gvasalia's output is “ such mediocrity, such tastelessness, such ugly ideas. Without balance, respect for proportion, without quality, without integrity – just the whorish greed to sell a gym shoe, a t-shirt, a back pack.” Beyond polarizing fashion consumers and critics, it seems Gvasalia wants to propel Balenciaga into some hyper modernity, distinct from avant-garde, but alongside it.

It seems that Balenciaga in the early naughts is product of the booming millennial sector purchasing in record amounts, and Demna's success in peddling cotton T shirts to novice luxury buyers through layers of pseudo-intellectual irony. Gvasalia's output is both compelling and boring, original yet referential, serious but tongue-in-cheek. Perhaps Balenciaga in 2018 is best explained as the dichotomy between modernity and banality. In a  luxury market that is less concerned with quality and exclusivity and more with having the latest hyper-temporary viral obsession, Demna's Balenciaga certainly thrives.

The jokes on us but we don't care.

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Kering v. Al

Gucci seems to have become the market unicorn as it continues its growth, decimating analyst predictions in its domination. Along with its rise, so have two others in Kering's fashion portfolio, Saint Laurent and Balenciaga, showing steady and promising growth respectively. As luxury spending rises worldwide, these three fashion houses dominate the landscape of influence, power and capital. Beyond the threshold of coincidence or dumb luck, many questioned the reasoning for the simultaneous growth of three of Kering's distinct fashion houses. Most contribute their ascent to the singular and definitive visions of their creative directors. Kering S.A ended 2015 with the appointment of Demna Gvasalia as new creative director of Balenciaga and appointing totally unknown accessory designer Alessandro Michele to the helm of the fledging Gucci house. Simultaneously, Hedi Slimane's relationship with Saint Laurent was deteriorating, and early the following year, he would leave the brand completely.  These shifts were catalytic to the houses' subsequent rise to rapid growth and market domination.

Having momentarily captured the spotlight of the blisteringly fast fashion paradigm, these particular houses seem to be doing everything right. From their digital campaigns and presence to their ability to continually produce and market highly desirable items, the demand highly outweighs the supply. And that's a good thing, keeping Kering execs and their stock holders grinning from ear to ear.

All of them offer unique total aesthetics, ie.  uniforms for  those who subscribe with that particular fashion (and beyond!) point of view. Kering's three biggest brands represent three distinct strata of fashion buyers and followers: Gucci's loud, flashy, and unique wares, Balenciaga's trendy and edgy sportswear, and Saint Laurent's eternally cool and effortless rock-chic. This diversity of offerings has clearly contributed to Kering's 70 percent growth in the stock price in the past year.

Of course the long term place and affect of these fashion houses in the market will be determined only with the passing of time. Can Michele continue to capture the hearts and wallets of fashion lovers around the world? Will a newluxury uniform better resonate than the ultra-skinny heroine-chic of Saint Laurent? Will anyone better encapsulate “outsider culture” than Balenciaga? Likely, for all three. The appointment of Virgil Abloh to Louis Vuitton's creative director position and Hedi Slimane's re-emergence and reunion with LVMH at Celine,  shifts in market share and influence are bound to occur. Both new directors are arguably the most followed, and deified of all contemporary designers today, and we wait with baited breath their output.

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Hedi Era

Hedi Slimane's departure from Saint Laurent in 2016 came as a shock to all strata of the fashion industry[though, we now know of the prevalent in-fighting at the time]. At his tenure, he had redefined the universally cool, edgy yet accessible uniform once again, and turned Saint Laurent into one of Kering's most profitable houses. Acting almost as an extension to his celebrated work at Dior Homme, Slimane defined the most desirable silhouette in menswear. His collections at Saint Laurent, particularly the Fall Winter 2013 collection, have developed a vibrant resale market among admirers, collectors, and archivist alike. Declining to renew his contract with Saint Laurent after having transformed the house and transmuted its relevance in today's fashion, Slimane's next move was unknowable to even the most elite and well connected fashion insiders. Stirrings of focusing on his true passion of photography, starting his own eponymous label under Kering, or starting a rock band as an homage to the heroes he so idolized and whose style he immortalized  in the paradigm of high fashion, roused the collective. In the time since Slimane's departure, Saint Laurent announced Anthony Vacarello (previously Versus Versace) as the new creative director for menswear. A tight pair of jeans to fill. Vacarello's SS17 collection was universally dismissed and it seemed as though a collective sigh would echo in the halls of LA's Saint Laurent headquarters for the imminent future...

Vacarello's FW18 collection has received far more positive reviews and seems to show the designer moving on from the backlash. However, Vacarello does this in a particular way as most of the collection is revisionist of Hedi's most popular silhouettes, pieces and themes. Vacarello tweaks the fabrics and textures but the proportions, the fit, the attitude are all Slimane's vision upheld.  The standouts from the collection were certainly the teal velvet suit, cut hyper skinny a la Slimane, or the lizard skin updated Santiag boot, which Hedi introduced in 2013. One of the boots to spark the (still thriving) boot fetish in menswear communities.

With the appointment of Slimane as the head of Celine and the inception of its menswear line, what will become of Saint Laurent in the current fashion conversation? A house whose current DNA is so tangibly entangled with Slimane's seems only doomed to come apart as he becomes active once again. Vacarello will certainly not be able to build his own legacy if he continues to simply revamp and update Hedi-era pieces. It seems for now he is choosing to work in Slimane's shadow rather than outgrow it and live along side it.

Wether Hedi will use Celine's menswear as an extension to his wildly popular Saint Laurent fashion narrative or totally overhaul his previous work with something totally new is another topic of debate. With Slimane, it is impossible to know. The direction of his upcoming collection will be closely guarded and only be revealed exactly as Slimane wants it to be, having total control over everything Celine. It will, however, be fiercely debated, and speculated upon until his 2019 debut. In many ways, Slimane has become larger than the various storied houses he has designed for, Saint Laurent included. Vacarello, on the other hand, seems to be the latest victim to a Hedi exit (Van Assche experienced similar unease in his early years at Dior Homme), unable to create a meaningful departure from Hedi-era Saint Laurent. The whole of the fashion industry will continue to idolize and deify Hedi in his total domination of the menswear landscape.

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Avi’s

The imposing two storey building at the corner of Richmond and Spadina is synonymous as Stussy's original Toronto location and the nucleus of Toronto's street culture. Sandwiched between Chinatown and the Fashion District, the area has no remnants of the once bustling cultural happenings predicated on a few key retailers in the area, namely Stussy and Livestock, which shared a common two floor space, and Adrift Skate Shop a couple blocks up, seeded in Kensington Market. The latter of which doubled its retail space as a skatespot complete with half pipe, and tripled as a space for punk gigs to happen on weekends. These stores acted as a meaningful meeting place for  the communities that streetwear built.

Along with street culture comes a highly interwoven art landscape, music landscape, fashion landscape and beyond.  Shops like Stussy, at the legendary 431 Richmond St location were hotbeds of cultural and creative energy. Beyond typical retail, the space acted as a club house for  original street culture enthusiasts, artists and creatives to share ideas and collaborate. Many of its employees and patrons used the space as a springboard for success in different industry avenues. As the street wear craze of the early naughts petered so did the presence of these establishments which as we know practically, do much more for local communities, than host inventories of screen printed t-shirts and skateboard decks. Stussy shut its doors at that location in 2012, and since then digital marketplaces have been rampantly replacing brick and mortar establishments due to low cost and high visibility. Toronto especially sees a high turnover rate in small businesses with the increasingly drastic rental prices. Adrift and Livestock have survived but in much smaller capacities, both companies having a larger online presence and smaller square footage.

In comes Avi Gold's effort to fill that void and re-create the distinct atmosphere and energy of 431 Richmond and Beyond. Avi Gold, or Avi Friedman, is a contributor to Sneeze Mag, and works as a brand consultant in his native Toronto. Gold is his own personal brand and markets his taste making sensibilities to those around him. Having worked on reunion merchandise for hip hop legends the Diplomats or acted as contributing editor for Sneeze Mag, his buckshot method of choosing projects has allowed for a wide ranging portfolio.  Better Gift Shop is the synergy of all the different subsets that Gold has his fingers in. A curation of Gold's interest in graffiti, television, music, skateboarding, and vintage clothing, Better Gift Shop's mission may not be transparent, but one is present. Starting initially as a bootleg t-shirt project, Gold wanted to move beyond that as he hit a ceiling on “making someone else's shirt”. Now, he creates his own clothing that is heavily inspired by an array of vintage media, from Seinfeld to 90s graffiti artists to old timey strip joints. For Gold, it's all about seeing a mainstream thing through the lens of a street culture enthusiast.

Better Gift Shop is located on Dundas Street steps away from the original Stussy and Adrift location. It is squeezed between the hippie commune, hyper liberal Kensignton Market and the crack pot hustle of a sprawling Chinatown. It sees many passerbys from all stratas of cultural and socio-economic classes. An unassuming storefront, complete with ruddy awning, rust plagued window fencing and cracked tile, it looks more like a bodega on its last leg than a new retail space, but that acts as part of its romance and allure. What is contained therein is a strong voice, and a wide yet distinct perspective on alternative interest that is sure to breed a cultural destination in a city that has lacked one in quite some time.

Gold's mission is to develop and progress Toronto's own street culture narrative and impact rather than exporting and appropriating other global cultural hotspots.  Better Gift Shop acts as a locale for both Gold's creations and also as a showcase for several products and people he admires and supports. Gold has an already established strong presence on social media and has created a web store where he sells his  Better products, vintage finds, as well as a selection from his  contemporaries. What a retail space does is allow for a community to develop in a tangible way beyond the digital dimension. It is a brave and gutsy move as the retail sector plummets and Toronto real estate market reaches peak volatility. The communities that the common interest in street culture bear are its greatest fruit. The retail space seems to be used, at least in part, as a platform to support other  outsider artistic endeavours. It is a wholly communal and collaborative process and result, and therein results true creativity and impact.